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Gee-MA-1932.Pdf (13.82Mb) Thesis Approved By Major Adviser . j . an 4. / FRANCESCA DA RIMINI ON THE STAGE or A Study of the Paolo and Francesca Theme As Treated hy George Henry Baker, Stephen Phillips, and Gabriele d*Annunzio. !.. BY ) GARTH GILBERT GEE A THESIS Submitted to the Faculty of The Creighton University in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Department of English \( % OMAHA, 1932 -13 7 7 2 FOREWARD It is the purpose of this thesis to look into the history and tradition of the Francesca tragedy, and to note the effect of each on Baker, Phillips, and d ‘Annunzio; to discuss the approach of the authors to their theme and their manner of handling it; and to discover by what means and by what tools their stage success was due. It is also my intention to compare the poetic efforts of the dramatists with a view to placing them in a scale of values; to study the likenesses and dissimilarities between th^ outstanding four corresponding characters of each author; and, finally, to attempt some fair estimate of the value of their plays to the world. Obviously, there is no desire to exhaust the theme, even relative to the American, British, and Italian play­ wrights. If the high points, listed in the paragraph above, are reached, I snail feel that I have partially succeeded. - 1 GARTH G. GEE i \ "it TABLE OP CENTENTS I. The History and Tradition of the Francesca Tragedy - - Page One II* The Approach of the Authors to the Theme ------- Page Nine III. The Dramatic Technique of the Authors -------- Page Twenty-Two ■-*: I. IV. The poetry of the Plays- Page Thirty-Two V. The Pour Major Characters of Bach Author ------- * Page Forty VI. An Estimate of the Authors *% Page Forty-Nine I. THE HISTORY AND TRADITION OF THE FRANCESCA TRAGEDY The northeastern shores of Italy, about which the tragedy of Paolo and Francesca centers, is one of that country's most beautiful spots. Rimini, the oldest and smallest of the Italian republics, is situated in a ice o f V enice Ühiogkia Parenz« fertile plain surrounded by river J\fo\ähs P.ïiella M aestra l the hills, mountains, and a sea. R. The city is bounded on three sides by water. It faces the Adriatic to the north, has the torrent, Aprusa, on the east * and has the river, Maracchia, >raja I. on the west. Its position is Ù . vi / MÔntttïcin° ^P iom b ili f ^ ass '•¿ft*/} such that it commands a pros­ y Elba lanosa ■ Oy4 P . Onibronc Colo J' -2ï. ui Ibegn pect of almost unrivalled Y nigcil ICWIU II Formica I. • ^Giglio I.Q Monto Christo* beauty over hill and plain. In order to gain a right perspective of the political situation at the time of the slaying of Paolo and Francesca it is necessary to look back a century or two into the past before the days of the powerful Ma'latesta. The records 4. show that in the tenth century Rimini was governed by the pope through the agency of counts, the city having been given to the pope by the Franks. This rule went on without much molestation until the rise of the Hohenstaufens in Germany. As this new power began to assert itself, the pope found himself struggling with a new voice of authority. At this (2 ) time there commenced the age-long struggle between the im­ perial and papal factions known as the feuds of Guelfs and Ghibcrllines. (Their names are the corrupted Italian forms for Welfs, enemies of Conrad Hohenstaufen, and Waiblings, friends of Conrad, so-called from the birthplace of Conrad, Waiblingen.) The friction between these two factions was no less severe in the days of Paolo and Francesca as is indicated i by the words of Alda, one of Francesca's women, in speaking of the dead troubagour, Guido, 11 Good, let him dies he's for the emperor. i 1. May he now go and make this rhymes in hellIM This condiction of hatred between the two groups, with the Alternate rise and fall of each, continued at white heat until the rise of the despots. Even then the Guelfs and Ghibellines remained the stiffest of enemies, but a turn in historical events followed the ascendency of the tyrants. * In the year 1216, Rimini, after being torn almost asumder in its struggle with the city of cesena, turned, with the per­ mission of the emperor, Otho, to the powerful Malatesta tribe headed by Giovanni and Malatesta. These violent men even granted citizenship for the sake of their aid and that of 4. their vassals in the defense of the state. For a period of over 300 years/ the tyrants of Malatesta ruled Rimini. —--------------- ------------------------ ---- ‘—c-------------- 1. A.Symons,d'Annunzio*s "Francesca da Rimini", p.22. (3 ) We come now to the particular MalateSta who really founded that famous House. This man was called Malatesta da Veruccio, and had the distinction of living one hundred years. He was the father of Giovanni, Paolo and Malatestino, who figure in the tragic death of Paolo and Francesca. During Verucchio's lifetime, the Guelfs were greatly in the ascendency and needed only a little closer cooperation to complete the subjugation of the Ghibellines. To the north of Rimini lay Ravenna, the other stronghold of papal adherence. An alliance between Ravenna and Rimini would mean that prac- I tically al^ of Romagna would-be placed under Guelf control. The central person who could effect this union was Giovanni, * the ugly but exceptionally brave, oldest son of VeruccMo. V H© had been a great help to Guido of Ravenna in the wars against the latter*s enemies. As a result of this service, a way was paved to unite the two cowerful houses of Romagna. *> Francesca, the handsome daughter of Guido, was given to Giovanni, as a reward for his services. It is concerning this match that Ostasio, thinking of the possibility of uniting Romagna, asks of Ser Toldo in Act One: $ ”By this alliance Shall we have got Cesena,' Cervia, Faenza, Forli, Civitella, Half of Romana?" 1. This political "marriage uade of Francesca a kind of "jeptha's >. 2. daughter, her father's sacrifice”, as the food, Pepe, intimates. 1. Ibid, p .33 2. A.H.Quinn,"Representative American Plays” (G.H.Baker's "Francesca da Rimini”, Act III, Scene 2), p.342. - (4 ) But according to available records Francesca went through with the ceremony. To make the link of bondage still stronger between the Malatesta and Polenta, another marriage was con­ summated. A son of Guido married a daughter of the Malatesta. At the time of their nuptials, Giovanni was at least thirty years old and Francesca was a mere slip of a girl, being hardly seventeen. The marriage existed for ten years during which time a boy and girl were born. The boy, Francesco, died while still a child, and the girl, who lived, was named Concordia, a strange misnomer in the light of her mother's life, after her grandmother, the wife of Verucchio. - •'* * About two years after the slaying of the lovers, Giovanni married Zambrasina, by whom he had three sons and two daughters. From 1295 to 1304, at the time of his death, he was lord of Rimini. Paolo, who was only four years younger than Giovanni, was seventeen years old when he married Orabile Beatrice, who was fifteen at the time. It seems that the marriage, too, was political. Orabile bore Paolo two children#* the elder of whom, Uberto, asserted his father's innocence in the love affair, and vowed revenge on Giovanni, his irnele. The latter invited him to a banquet and bad him slain by two of \ V his (Giovanni's) bastard sons. Paolo was a widower at the time of his love affair with Francesca, Orabile having passed away before Giovanni and Francesca were married. (5 ) So much for the actual history of the Polenta and Malatesta families. Besides the historical records, other information concerning the families may be found in the realm of tradition, the authenticity of which may or may not be trusted. One of the first questions one might ask is, "Since the Italian records and traditions are filled with hundreds of such tragic love-tales in which the victims die by the t dagger, the rope, or poison, why is it that the story of Paolo and Francesca should be picked from the rest and, consequently, shed a halo of sacredness about the otherwise insignifleant city of Rimini?" The reasons are two: (1) the high position of the families and (£) the poet, Dante. The latter is the main reason why Francesca da Rimini lives today. In his masterpiece, "The Divine Comedy", Dante re­ cords only sixty lines, the last sixty of Canto Five of the "inferno", in which he deals with the theme; but his poetic effort is so great that it has inspired at least nine taagic dramas, >three operas, and two poems. Perhaps the reason for the great inspiration of that portion of the "Inferno" lies in the fact that Dante knew the Polenta family and lived through the horrible tragedy. He was only twenty at the ,time of the double murder, an age of youth which would forever burn the story of the crime and its events into his soul. ( Fifteen years later he went to live at Ravbnna in the very house where Francesca had lived, as the guest and friend of Guido Novella da Polenta, own nephew to Francesca. It is (6 ) now thought that Dante wrote his poetic version while at Guido's home.
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